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> Intervals, Chords, Triads And Harmonies, Part 4 - Triads
Andrew Cockburn
post Apr 30 2008, 01:32 PM
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Hi there - glad you are enjoying them smile.gif

In the example you give, D diminished and D major would be in different scales so you would actually have to modulate to include both of those chords in a progression. Your suggestion of E is a better one, as E would be the root of the minor scale that Ddim is in.

Its not the only choice however, and mostly its about what sounds good. For instance in "Still Got the Blues" by Gary more, the main progression goes:

Dm7 G7 Cmaj7 Fmaj7 Bm7-5 E7 Am

Here the Bm7-5 is actually a diminished triad with an added minor 7th note, and you can see that the tension is resolved by moving to an E7 which is the 5th, not the tonic - so there are options.


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Kristian Hyvarin...
post Dec 11 2009, 11:34 AM
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Thanks for these AWESOME lessons! biggrin.gif But I'm still a little confused about the naming of the chords. For example, what is the diffewrence between Dm6 and Dm#5 - since in the minor scale the sixth note IS the augmented fifth, is there any difference?

And I disagree - I think Cm#5 sounds great. biggrin.gif
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Jakub Luptovec
post Dec 11 2009, 11:54 AM
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Not, that I am some theory genius, but AFAIK:

Dm6 would have 1st, min 3rd, perf. 5th AND minor 6th (so it would be based off on Aeolian mode)
dm#5 would have 1st, min 3rd and augumented 5th. They are the same notes by name, but the role of the note in the chord changes and with it the way, your ear hears it.

This post has been edited by Jakub Luptovec: Dec 11 2009, 11:55 AM


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Kristian Hyvarin...
post Dec 11 2009, 11:59 AM
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So are these correct fingerings (or some of them, I know there are multiple correct fingerings):

Dm6:
E -
A 1
D 0
G 3
b 3
e 1

Dm#5:
E -
A -
D 0
G 3
b 3
e 1
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Caelumamittendum
post Dec 11 2009, 03:01 PM
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QUOTE (Kristian Hyvarinen @ Dec 11 2009, 11:59 AM) *
So are these correct fingerings (or some of them, I know there are multiple correct fingerings):

Dm6:
E -
A 1
D 0
G 3
b 3
e 1

Dm#5:
E -
A -
D 0
G 3
b 3
e 1


The two chords you wrote are essentially the same. They both consist of the notes A#, D and F. You can leave out the 5th of the Dm triad in expanded chords, as it's not a dominating figure, but in this case I'd probably finger it:

CODE
e|-X--|
B|-10-| (A)
G|-10-| (F)
D|-9--| (B)
A|----|
E|-10-| (D)


for the Dm6 (D, A, B, F)

And for "Dm#5", which I geuss is more of a Dm b6 or Dm add b13 (???):


CODE
e|-X--|
B|-10-| (A)
G|-10-| (F)
D|-8--| (Bb)
A|----|
E|-10-| (D)


with the notes D, A, Bb, F.

In the Dm6, you would not have the b6, which is only present in the Aeolian mode, but rather the 6th present in e.g. dorian.


This post has been edited by Caelumamittendum: Dec 11 2009, 03:04 PM


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